tv [untitled] April 5, 2011 12:30pm-1:00pm PDT
personal guarantees. >> the same. 20% ownership in the company. [inaudible] >> [inaudible] >> i heard something about sba guaranteed loans. maybe i missed something. does that have to do with the sba guaranteeing the entity? >> the question on the sba guaranteeing a entity as the order of the business, whether it is a corporation or partnership, for any small business lending, you should expect to be guaranteeing that long personally. as a small-business owner, from
a lender's point of view, we want to see that you are as invested in the business as you are asking the bank to be. the idea that non recourse loans, the way you describe it, loans that you get without having yourself personally liable is not the way it works. you should assume you will guarantee the loan regardless of the structure of your business. the good news, though, for businesses like you are describing, internet business, is that the capital requirements for that type of business is generally small. you are able to get yourself further along and share in revenues with a smaller amount of credit need. that is where we see a lot of businesses and personal service or internet business get started, and generate revenues and be able to show growth without needing any capital,
like a brick and mortar business might. >> my name is terry said. i have a retail business in san francisco for 22 years. i have a 5 04 -- 504 loan. it took me three years to get. we need more capital. i tried to get a line of credit from wells capital. i was decline. where does someone like myself go? i have a loan, i need additional funding. >> did you try through the sba? >> i already have an sba loan. i went to wells fargo for a line of credit and they would not give me one. >> i can speak to you about it. when we look at funds that are needed, the biggest thing we look at our cash flow.
i can address that with you. unless there is an issue, at that point -- [inaudible] >> let's talk, ok. >> i have a couple of more questions. i know that the panelists have agreed to stay after for those who have specific questions. i do have one question for wells fargo. what are the typical rules for applying for sba loan of less than $50,000? how much money do we need to have in your bank to apply for a loan? >> i am on the smaller side of the bank. i am a transaction guy.
i do not technically require one to have an account to do a loan with. what i look for, i generally start at 100,000 and up. when it is a requirement of 50,000 or less, i tend to call of the micro guys to help me out. that is right in their box. for us, the capacity for us to do the smaller side is not there as much as it is for them. on getting a loan through my side of the bank, i do not require an account to do that. we would like to have it, but i do not require it. >> last question for the opportunity fund and a critic representative. are you a cdfi?
is san francisco and s.p.a. in support of cdfi's being established in san francisco? >> yes, we are. we were founded in 1999 with a small business loan. that is how we started our tenderloin office. >> opportunity fund is a certified cdfi, so we are providing a benefit to low and moderate-income communities. he is the city establishing support for new cdfi's? >> mark wanted to address that, in support of cdfi's in the city. >> we have a wealth of partners in the city.
s.p.a. is just now rolling out a program for r -- will be the case by the summer. let me get one last point and on the question about relationships to lenders. the question was, do have to have an account with a bank in order to get a loan? may answer is no, but the real answer to it is certainly want to do that. one of the things we see as an important thing for you, as a small-business person to establish a relationship with a lender on a variety of levels before you look for funding. part of that is opening an account with them, letting a lender know about your business, understand your business, talk to them as you are growing your business. when the economy is strong, all lenders are shopping for transactions.
in times are tough on credit, you want to rely on those deeper liberation ships with your lender. you want to develop a relationship with a lender. it is the case where you want to open up an account, while to have another bank services that you want to have a relationship with your lender with it because when you go to them for any loan requests, you want them to know about your business and feel like they are a partner of yours, not just that you are shopping them. if you are shopping, you are just looking for the best deal from them, rather than a long- term relationship. >> i want to thank everyone for coming. hopefully, you have all signed up for our updates. we are going to be hosting these on a regular basis. the next two coming up will focus on becoming a government contractor, how your small business can partner with the
government. the next one will also be on how to grain your business, with tax -- green your business, tax credits available with that. for non-profit, charitable organizations, we have a workshop coming up. that is helpful for those of you who are looking to access the committee on a durable basis. >> also, on behalf of leader pelosi, i want to thank our panel and her staff. we are tenants in this building. i apologize for the security situation that happened upstairs. if you have concerns about it, please come and see me. i would like to convey those to
>> welcome to "culture wire." today we're headed to smpling f. camera works, a premiere venue for artists working in photographer, video, and digital media. the latest exhibition lists clearness as a set of political alliances and possibilities that it is behind the sphere of dominant gay and lesbian culture. the curator fills us in on the process of creating this thoughtful exhibition. and what she would like you to take away from it.
>> i co-cureated with danny, a chicago-based writer and curator. the conceptual framework is what it means to be clear and radical for our generation. clearness as a set of political alliances and possibilities, not necessarily related to institutions of gender and swam formativity. danny and i wanted the show to feel funky and to have a really tangible quality to it. so part of that was incorporated handmade objects and installations and beautifully printed photographs and videos. there is also a lot of opportunities to participate and to take postcards or to get the photo taken or sit within a tent made out of afghan
blankets to watch videos. the exhibition is organized in three distinct galleries. in gallery one, which is the gallery designated to clear activism, there is an installation by the oakland-based collaboration and it's called "unleashed power." it's all focused on one protest that happened in chicago in 1991 with the activist organization act up, which was protesting the inadequate health care for people living in aids, and specifically it focuses on an act of police violence that occurred at that protest. the thing that is really interesting for me about that piece is that it brings us back 20 years to what clear activism looked like at the height of the aids crisis. gallery two features work that
is related to intentionally communities that exist both within cities, also in rural spaces, and transient communities as well. the return features a no madic clear tribe, the people who join this tribe are often in various states of transition themselves, whether it's leaving behind previous gender assignments or corporate jobs or a life within cities. a lot of the work featured in the exhibition and a lot of the installations are handmade objects. there is a lot of do-it-yourself aesthetic and that handmade do-it-yourself feeling is something that mimics the idea and the reality of the alternative world making that we're trying to represent here as far as the self-sufficient community goes.
gallery three features work that relates to the ideas of self-determinenism, alternative world making and utopia. visits can still participate in this -- visitors can still participate in this project. during the opening, we invite visitors to come in and try on these costumes, pose in front of the backdrop. he was really inspired by comic books that he read as growing up and thinks of this space as a post-apocalyptic monster portrait gallery where people can remain genderless once they put on the costumes. we think it's important that this be happening in san francisco, which is considered an ekpe center of the queer actual cure.
the majority of the queer cultural events happen in june which has been designated as the pride month. which to me translates as the period of time in which people can be in clear arts and culture. in september, it's hashingening back to that and proving that this is something that is scon significantly happening all the time. what danny and i hope visitors take away from this exhibition is to observe the diversity within the designation of queer in terms of race, in terms of gender presentation and intergenerational perspective of what it means to be queer as well as what it means to exist and be active and work in solidarity with people whose identities may or may not look like yours.
sustainability, and integration. using a distinct visual approach, each of the artist's response to the shifting needs of their communities in ways that offer unique perspectives and multiple points of entry. >> the exhibition is to bring together the voices of a new generation chicana artists, all of whom reference the works of the civil-rights movement in their works, but they are also responding to a new cultural concerns and new cultural circumstances. >> the works in the show include a large canvas depicting a woman washing the beach with her hair at the u.s./mexican border. the painting encourages the viewer to engage with the current debates over immigration and the politics of women and labor. influenced by the campaigns of the chicano civil rights movement, this oakland artist is a print maker whose work has helped and sustainability with
the immigrant community as well as other current sociopolitical issues. this print-based work draws on appropriated agricultural worker manuals and high fashion labels to satirically address class issues, cultural identities, and consumerism. >> angelica -- her father was an agricultural worker, so she has drawn a lot from the materials the agricultural department sends to agricultural workers, referencing the depiction of farm workers and some of the information about pesticide application. >> mitzi combines a variety of media, including embroidery, to create artifacts of mexican, chicano, pop culture. she greets immensely detailed drawings of celebrities on the same platform of her friends and
families. her work combines elements of chicano portraiture and low writer art, rendered in upon new art style, or intricate drawings on handkerchiefs, also -- often associated with prison art. her portrait of three girls is among several of original posters by the exhibition artists, which are on view at various bart stations as part of a public campaign funded by the national endowment of the arts. from the outset, the curator felt it was important for the exhibition to have a public art components of the work could reach the widest possible audience. more than just a promotion, the posters connect the work of these powerful artists with new audiences, including the vital chicano and latino community. images can be found in bart stations located in san for cisco and oakland. >> it is enormously exciting for me personally and for the institution.
the poster with up right after new year's, and i remember very vividly -- i am a regular rider, and i went into the station and saw the first poster i had seen, it was incredibly exciting. it is satisfying to know that through the campaign, we are reaching a broader audience. >> for more information about >> welcome to "culturewire." since december 2005, the museum of the african diaspora, known locally,moad, has presented programs that celebrate and explore the culture, history, and art of people with african descent throughout the and added states and throughout the world. the director of cultural affairs recently met with the museum director. to learn more about the current expedition, textural rhythms,
constructing the jazz tradition, contemporary african american quilts. >> welcome to "culturewire." today, we are at the museum of the african diaspora, which is celebrating its fifth anniversary occupying one of the premier cultural district in the world, the yerba buena cultural arts center in san francisco. joining me is the cultural art director. tell us what moad's mission is. what does it do? >> the museum of the african diaspora showcases the history, art, and cultural richness that resulted from the dispersal of africans throughout the world. we do that through compelling and innovative exhibitions,
public programs, and education programs. our goal is to celebrate and present for appreciation to our broad and diverse public the controversial energy contributions of people of african descent to world culture in all aspects in all areas, including politics, culture, economics, education, just in all aspects of cultural forms of expression. >> one of the fascinating things since 2005 when the museum was established, is that it has become clear from science that all of humanity originates in africa. how does that influence the education programs or presentation here at moad? >> obviously, being able to attenuate that, and there is a sign at the door that says, "when did you know that you were african?"
our point is that we share a common dna, and it connects us on a number of different levels. this institution is an institution available to everyone, a resourced for everyone. >> you have both permanent and temporary exhibitions, right? >> we do. our temporary exhibition program is one that we are restructuring. i have been here now for about a year and a few months, and as a former curator, i'm very interested in this aspect of developing the visual arts program. part of what we are looking at is using the four core seems that define our program -- origins, migration and movement, transformation, an adaptation -- as a framework for our thinking about the kinds of exhibits we present. >> we want everybody to come and see the permanent exhibition. there might be a special opportunity to visit with the current show that you currently have, which is constructing the jazz tradition, which is a very
striking exhibition of quilts. >> it is a compelling exhibit on a number of different levels. visually, it is compelling. in terms of the subject matter, in terms of the approach to materials, it is so rich and diverse. it is a colorful show, a show that is deep in content, and we know something of the history of the "'s tradition within the african-american community. it is a tradition that came from africa, has its roots in africa, but during slavery, this was a combination of things. one was a way to be able to communicate with each other, a way to create beautiful objects, and a way to create functional, utilitarian objects for the family and community. the other part that makes it so interesting is the focus on jazz. there are two attritions being celebrated here. certainly, the tradition as we know it -- these are not traditional quilts.
they have their roots in traditional aspects, but what you will find in this exhibition are works that include materials on the surface, new processes, copying, and putting photographic images on the surface. you will find packets sewn onto the surface, so the methodology from traditional " making has changed from how traditional quilt makers use the medium. >> our visitors can visit the web site, which we will be showing on the segment, so follow the link to the website, and get all of the latest information about all these events related to this exhibition, and, of course, you guys are very active. throughout the year, with all kinds of special programs. >> yes, we are. this is what i'm so excited about. >> this may take us off track a
little bit, but a couple of things i wanted to highlight is that the creation of moad is one of the flagship creations of the redevelopment of san francisco. it is housed inside -- what is the building? the regency, right? >> the st. regis museum tower. >> the st. regis museum tower, which is one of the development projects that was promoted by the redevelopment agency is what allows the city to -- and the development agency to give form and establish moad in the yerba buena cultural district. now, we are looking at governor brown oppose a proposal, which means that in the future, it he is successful, they would not have had the rebel the agency to promote these economic and cultural projects. it is something that has relevance today in terms of
public policy today, what is going to happen in the future if we do not have a redevelopment agency to promote this development. >> yes. moad is the result or culmination of a public/private partnership that included the redevelopment agency and former mayor brown, and included the developer of this area. we had an opportunity to develop, create important cultural components of this public/private partnership. i understand the concern. i'm delighted they are here and will continue to be here and will continue to do the good work we are doing. >> absolutely. thank you so much for being part of "culturewire." >> thank you for having me. >> for more information about the museum of the african diaspora, visit